 | Irit Rabinowits was born in 1969 in Be'er Sheva, and currently resides
and works in Tel-Aviv, Israel. She is a graduate of The Be'er-Sheva College of Visual Arts, where she studied from 1989 through 1992. She worked as an art instructor for children and as a book illustrator, publishing two children books with her illustrations (1992, 2003). For six years she has worked and gained broad experience at the art studio of the international artist David Gerstein. Currently she resides and works in Tel-Aviv, Israel.
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In the “Domestic Threats” series I use Mexican folk art to create large-scale, charged and visually-complex narratives about duality. Painstakingly applying dozens of layers of soft pastel onto sandpaper, I work on each piece for three to four months. My self-invented technique achieves high-key, vibrant color that is in direct contrast to theway artists typically use pastel.
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New York sculptor Alex Racine will exhibit six larger-than-life ceramic human heads. Starting with the figurative approach of a classical sculptor, Racine breathes life into his art by disrupting the traditional form, transforming each of his six distinctive heads into a uniquely lined and cut two-piece puzzle that can be separated. The exhibit's continuity is found in the shared facial expressions of his bodiless sculptures. Despite their different features, each one's mouth is agape, displaying intense human emotion and the vessels' empty interior caverns. |
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I paint because my paintings want to be painted. Even though my work
is mostly accociated with oil, achrylic, ink, gold and whatercolour
on metal
or panel, the actual technique is of little concequence to me. More
important is the journy and it´s destination, which has proven to
be a
mystery to my mind, but completely clear to my soul.
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It's, for the moment, the last lino of a serie of organic linocuts that are based on the golden section principle as e.g. used in architecture by the ancient greeks.
The golden section method forms a linear composition so that the organic composition can grow upon it without loosing a certain unity.The underlying golden section composition is an analytical approach and gives me the space to let the actual composition, while cutting, grow freely.
I have also produced a more figurative serie of linocuts based on greek sculpture from the Parthenon.
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"A man with one watch always knows the time - a man with two is never sure." author unknown
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Marcus Ranum is a computer security consultant who does photography as a hobby.
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The source of my work is my memory.
Memories from Iraq, the country where I was born; the people, the
history, my youth, but also the wars, the inhuman dictator, the
surpression, the poverty. As an artist I search to ways to connect my
personal history with the common one. The archive of my memories I use
as the start for my work and I try to place them in a wider perspective.
I search for those memories which are common and try to connect them
with the nowadays world, my daily life and the world around me. In
this way layers of meanings can develop within the work. By taking my
memory as an archive and startingpoint for my art I try to take
responsability as an artist for the world around me. It helps to
understand now and built up the future.
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My works are woven into rhymes and tied up in a geometry of poetic expression. The formation of my work is not cognizant. The works stem from a process of alert concentration, attention to detail and an interest in the subject. This invites an element of surprise and an unexpected freshness that adds another dimension to my works. The work is not abstract; the vivid interest is in the existing concrete subject and in the formative complex containing its whole, clear of information or any hint or message of any kind.
My work emanates from itself with a strong presence. Each line dictates another and each shape creates a new shape. It is built on the anatomy of art and not on the anatomy of the subject. These elements are derived from the works of maestros like Titian, Veronese, El Greco, Frans Hals, Velasquez, Cézanne, Picasso, Matisse, De Kooning, as well as the contemporary American artist Knox Martin, my teacher at the Art Student League in New York.
The essence of my work revolves around discovery itself and not on illustration or description. It is art that does not age and is beyond time and fashion.
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The surreal paintings of Ramaz Razmadze are thought-provoking portals into the visionary world of his imagination. Depending on the viewer, his art may be described as enlightening or frightening, ridiculous or sublime. Razmadze creates surreal paintings while maintaining a realistic manner of painting. His art technique reflects the mysterious world of surreal compositions, characters and situations, while his realistic manner of painting makes "unreal" compositions and objects seem "real." Viewers often wonder if the artist is subconsciously depicting himself in his paintings. He works in a variety of mediums including oil, gouache, watercolor and ink. Ramaz Razmadze has had both solo and group exhibitions in Georgia, United Kingdom, Canada and the USA. His works are in private collections in Georgia, Portugal, Canada, USA and many other countries.
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The journey is our home. A time to reflect and record the images of our experience.
The destination, as never before painted. The never before seen by mortal eyes nor
touched by creative hands. Many a soul may travel in search of the golden dream;
humankind has circumnavigated the globe and embarked upon a quest to walk amongst the
stars. But we are only now beginning to touch and feel the essence of our inner being
through the expansion of our consciousness...
For thousands of years humankind has recorded the experience of this evolution through
art, music, drama and literature in an attempt to preserve the knowledge and the wisdom,
and hopefully the magic of life. Through our application and patience we have grown.
At our humble beginnings in darkened caves, our primary form of communication was
painted on the walls.
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I am a Dutch painter and have a nice Atelier and Gallery in a little village in Emst in the Netherlands my paintings are in different stiles , watercolour , acrylic , oil , the most of the paintings are with animals , nudes and the dune- beaches .and I give also lessons in painting. |
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Mark Reep's intimate, richly detailed Ink, Graphite, and Charcoal drawings invite close examination: “The more closely you look,” Mark says, “the more you'll find in them. My drawings are windows on quiet places, on solitary journeys, on dreams. They're about explorations, and discoveries- Moments when, as Robert Henri said, 'we seem to see beyond the usual.' And so, hopefully my drawings may serve as doors of a sort, as well.”
“Inked elements are created using the traditional pen-and-ink technique of stippling. Other elements may begin with a loose 'underpainting' of powdered charcoal, applied with less traditional tools; detail is then developed and refined with graphite and/or charcoal pencils.”
Born in 1960, Mark has been making art for most of his life. A stonemason and arborist, poet and musician, photographer and draftsman, Mark is a self-educated artist whose drawings reflect his love of inaccessible wilderness, and meticulously tended paths; of centuries-old ruins, and newly-mown greens; of light and shadow, of line and flow; of composition and improvisation; of mysteries, of stories, and dreams.
Mark's drawings have been exhibited in galleries, museums, and juried exhibitions for over a decade. His drawings been acquired by private collections throughout the United States and abroad. Mark lives and works in the hill and lake country of Northern Pennsylvania. |
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My goal in creating is to enrich the viewer’s environment, either through positive affirmations or by using found object collages to draw the viewer’s attention into an altered world.
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Through the years artists have painted their interpretations of everyday objects, subjects, and countless landscapes by using recognizable shapes and forms to relay their messages. Vincent Van Gogh’s landscapes are truly original and so are Monet’s; each of which have there own distinctive personality, characteristics and purpose. However, one thing has always remained the same regardless of the artist, the use of forms and shapes to create their objects. Some have chosen to abstract their shapes, but the artist is still using recognizable shapes to some degree, to represent a specific image. Status quo.
Most people look at art for something they can recognize and the artist usually abides by painting something familiar to capture the interest of the viewer. A bright summer day for example is painted with a blue sky and round yellow sun. We are all familiar with these shapes and compositions so the artist has left us with just that – a bright summer day, painting. Status quo.
Can the viewer experience this same bright summer day if all recognizable shapes, forms and compositions are left out of the painting? More importantly can an artist represent a specific place or object without the use of form – even if abstracted?
This is my place in art. I have chosen to remove all forms and recognizable shapes as well as traditional tools (paint brushes) from my compositions and create a sense of place or mood and even imagery through the use of color. Freedom.
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Material do matter. Usually I use MDF panel or polyester in a square format.
Lately I'm painting on foam rubber as well, small to medium sized. Working with satin and gloss laquer the texture comes up to an abstract image. Visually I aim at a combination of poetry, beauty and tension.
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Original abstract art and limited edition prints ideal for home interiors and corporate spaces.
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Lesley Reppeteaux is down with the darker side of whimsy. She makes her living blending the worlds of literature and fantasy to create a peculiar place she can call her own. Born in Nova Scotia, she currently resides in Venice Beach (though rarely sees the ocean due to the fact she¹s cramped up painting in her studio all day.) She likes the word "creamy", as in: "Hmmm, this new tube of Paynes Gray sure is creeeeeeeeamy." Creamy. That's how she rolls.
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"as longas telas são histórias, misturam imagens, escritas, cores e códigos, descrevem viajens e experiências com um estranho e magnético olhar..."
"les longues toiles sont des histoires, un mélange d'images, d'écriture, de couleurs et de codes. Elles racontent des voyages et des expériences à travers un regard étrange et magnétique... " |
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Most of my work is created using large plastic stencils that I design and cut myself. Often 3-4 different layers (each layer representing a different color) are needed to complete an image. I will sometimes cut a stencil of just an outline of an image and use watercolors, acrylics or house paint to color it in. Although this medium is basically a form of printmaking, I have the freedom to experiment with color, surface texture, and grouping of objects and thus mood and tone, making each piece unique. As an art instructor/advocate for adults with severe and persistent mental illness, I am a true believer in the powerful healing tool that art can be. I am inspired in my life and in my art by the struggles and successes of my clients. I am additionally inspired by the urban community in which I live, childhood toys, vintage botanical prints, my dog Ella, bicycles, street art, and random found objects, collective endeavors that challenge hierarchy, acts of compassion, downright silliness and things with wings.
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Born in 1962, this self-taught artist paints exclusively in acrylics. His work is primarily influenced by his immediate surroundings and often deals with the study of perspective, colour and light. His paintings have been collected and exhibited in galleries across Canada. He was elected to the Federation of Canadian Artists in 2004.
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I am a painter, filmmaker and photographer named Jesse Richards. I'm involved with the new British art movement Stuckism, which was founded in 1999 with the purpose of bringing spirituality and emotional meaning back in to art, and champions the making of paintings about things that touch the soul of the artist.
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Painter
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My disciplines involve painting and printmaking. The intimacy of process and small scale format of copper plate monoprinting, drypoint and chine colle offer me a media and textural shift to the immediacy of painting as a practice.Painting is a direct response to colour and form, as I work I distill images from travel, memory and the painting itself as it progresses.
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CJ Rider spent her early life in a small town on the coast of California.
Since those early days, she has visited and lived in many different states,
experiencing the local flavors from each. In her work, she continues to embrace
the integrity of middle-America through her depiction of authentic moments,
moments of truth. Her portraits are filled with emotion, her landscapes capture
the rugged natural beauty of the land and her poetry and book illustrations
are poignant. Refusing to be restricted or stereotyped, she uses whatever medium
best suits her subject. CJ's goal is to lend a touch of meaning to the viewer
that will evoke a strong emotional response.
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In practising the visual arts I am a self-taught stonecutter. And fromthe very beginning I understood that there are no helpful gnomes or goblins in my studio. All that actually happens there is what I myself bring about in the stone. And for more than thirty years now it has been happening over and over again: the moment I realise that in fact I do not need any gnomes at all! For all of a sudden there is this intense experience of falling together with the stone. I become the space the stone offers to me. I become the plane that I make visible, I become the line I form, I become the cavity that I carve out, I become the gesture that I want to create in the stone, I become the direction I want to define in the form, I become the play of inner and outer lines and planes, I become the alternation of closed and transparent form, briefly said: I become the journey from amorphous mass to the final sculpture, ultimately put into the light.
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I have been a creative person my entire life. Starting with a few small canvases and an easel I discovered, as an adult, that painting was the perfect vehicle to release my creativity. My paintings start out driven by my own human emotion and creative visions. Each piece contains an initial layer which is reflective of my inner-self at that moment in time. This being the emotional and creative release onto the canvas/panel. As I slowly start to work on each piece, it quickly becomes its own creature. I allow myself to let go of the reins and with an unrestrained sense of direction; I start to discover the chance effects of manipulating the paint, exploring unconventional ways to create surfaces, playing around with texture and shape - along with introducing other media to the piece. The freedom of this process creates limitless boundaries - allowing each piece to offer bold strokes of colors of unparalleled richness, contrasts and conflicts, densely and dashingly painted surfaces - leaving the completed surface a true reflection of my intense experience. The feeling that is evoked within by becoming completely absorbed by each piece, as I do, is truly indescribable. I feel as though each one of my pieces is an energetic assertion of my personality, individuality and identity. My hope is that you will create your own story from your life experiences when viewing my work and that will touch you on an emotional, spiritual and intellectual level.
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Photographer of profession during more than 15 years. At present I work as
the photographer and technician of digital laboratory in the Agency of
Photography Cover.
I give seminars in every Spain on professional techniques of digital image and manipulation of image. I have earned some prizes in
contests of
digital
photography and I have carried out diverse expositions of digital Art
and photography in Spain, Mexico, Argentina and Venezuela.
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I craft objects for the sheer joy and sense of wonderment I get from making them. My current sculptural work, the "floral/Bark" series, is based in contrast. The juxtaposition of a light, graceful, ethereal "floral" element and a heavy, grounded "bark" base. I am intrigued by the interplay between line, colour, space, texture and light. I am particularly interested in the interaction of the viewer, light and the three dimensionality of the object. |
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In the wake of Duchamp et al, the 1960s' pop artists blew away much of the established rule book about what constituted 'art' – I took heart. I am not comfortable with artificial categories such as fine art, graphic art, or craft. In the plane of two-dimensional imagery, I guess I'm now somewhere between photography, graphics and the digital arts. Pixel technology suits my thinking and my range of skills; I have been described as a polymath. Technology and art are inseparable, each sparking off ideas in the other. Artists have always been quick to exploit new technologies, materials and tools (Dürer and the printing press; Vermeer and the camera obscura; Degas and high speed photography; Paolozzi and screen-printing; Donaldson and acrylic paint; Hockney and Polaroids; Hamilton and the electronic Quantel Paintbox).
For me, new art has to be original. I believe the product says something about the artist, if only that he/she was kowtowing to the establishment or prostituting their talents or just needing to earn a crust. How the viewer interprets the artefact is another matter; the artist has limited control over that. Essentially art comprises the acts of conceiving and executing the artefact for others to behold and judge.
What I bring to my work can only comprise my experiences, my feelings and aspirations, my imagination and fantasies, my limited but precious resources (45 years of negatives, slides, drawings, books, cuttings and notes) and my accumulated skills (film, television, photography, editorial, IT, basic draughtsmanship, et al). Whether anyone actually likes what I produce doesn't really matter. |
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As I always say, I have been influenced by Medieval wood sculpture, but these days, I am, to some degree, trying to move beyond this stuff-as good as it is. This means that I will try to take more chances with my figures, both technically and emotionally. I will also try to incorporate more decorative elements, and continue to work in a life size scale (although the piece pictured here is only 12" tall). |
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SELF TAUGHT FIGURATIVE ARTIST. |
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I have traveled to many countries and I love them all. I love art of all kinds and I think everything we do in life is a creative process, but I can never reach perfection so I keep trying. I try to creating a positive ambience in my art. |
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My recent work continues my exploration into the intersection of nature and
humankind and how they can coexist or clash. I see the straight, hard edges and solid
lines in my work as a reflection of things that are man-made, its tools, machines,
architecture etc. For these areas I use tools like rulers to create precise verticals.
I use tape as a mask to create lines with sharp, straight edges. I mix pigments, mediums
and colors to the ideal consistency, then I carefully apply the paint with brushes or
rollers (more tools). This is in complete contrast to the organic and atmospheric
passages in my work. Here I avoid direct mark making and let fluid colors move and mix
and behave the way liquid does naturally. Basically I let nature take its course, almost
as if things just occurred and were not made at all. The methods and materials I use
are inseparable from the concept. These opposing forces of painting precision and
serendipity live side by side, sometimes working together harmoniously and sometimes
creating tension. I also see this yin/yang approach as an ideal vehicle for exploring
the formal concerns of color, rhythm and space. Like film frames or comic book cells,
the colored panes move across the picture plane and create a rhythm. These bars act as
both structural elements and have a meaning of their own. The often wide, horizontal
format contrast the strong verticality of the work and mimic the wide format television
and movie screens we are so use to watching. The space both in these panes and the
areas between, can be deep and multilayered or flat and right on top of the surface.
They can divide, stop or activate areas of a given work. Color plays a major role and
affects the overall mood as well as the movement of the eye, the flow of the piece, and
the amount of tension created. This "vehicle" seems like the ideal format for someone
like me who has many ideas, both conceptual and visual, that I am interested in
exploring all at the same time, sometimes on the same piece. |
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I am a multi instrumentalist, singer, songwriter and recording artist with four CDs to my credit so far) and a novelist, a non fiction book writer, a short story writer and a screenwriter with four novels to my credit so far, a non fiction book and a collection of twenty one short stories, plus two screenplays. |
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Valene painted mostly in her
twenties and thirties, doing everything from murals in the Denver
Post Office to illustrations in national magazines, working exclusively
in watercolors. |
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Mieke de Rooij paints tulips, but in a different way. In Holland spring can give all
kinds of weather: sun, rain, wind, even snow and frost are elements which this strong flower
can have to deal with. During painting sometimes figuration gets less important than playing
with paint en linen. In her paintings grows a new fantasy full world. |
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Co-founder of HomoLudens Design, Lisbon: graphic, industrial and educational
materials design. Design projects involving special equipment for children with brain
paralisys, for the blind and children with ambliopy. Other projects including urban
design, architectural, interiors, packaging, information, publication and
illustration. Plastic Arts.
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Creating in some form has always been my response to life’s challenges. An important aspect of creating for me is quietness. Contemplation of nature, found objects, or my own inner spaces stills my mind. In this quietness, I find inspiration and joy for both my art and my life that is also full of music, dance, laughter, friends, and Boullie.
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Claus Rose, class 1968, was born in Bavaria and grew up and lives since 1996 in Jena, Germany. Photography as life, with all their facets and expression possibilities, the passion came early to him. It is fun for him to work in a creative way as well as being interactive with people. Claus publishes on the internet or as cooperator for the German FINE ART FOTO magazine, and organizes exhibitions and workshops. The charm of taking pictures, which lends a special aura of the aesthetics and beauty to the model, has a strong fascination for him. It is in his heart to make nude photography natural as continuation of the classical nude painting for the broad population. The photos always develop in the mutual rapport with the models. By experience he obtains the best pictures if the model brings itself as strongly as possible into the picture design. Only then the balance between intended production and free space for the personality can be mastered. The model must participate in the design of a picture and should never be treated as raw material. So his pictures are as different as his models.
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"I can accept failure - everyone fails at something. What I can't
accept is not trying." - Michael Jordan NBA superstar
STATEMENT:
Keith Rosko creates hauntingly beautiful art featuring primarily
Native American people and historical subject matter. His subjects
communicate with such vitality and power that the edges of the
pictures seem to evaporate, and we are gazing not at a drawing but
suddenly engaged, eye to eye, in an encounter with another human
being. |
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I think my work is very inquisitive or maybe it's intuitive. A relentless exploration of subject matter and technical invention, guided by the one principle that compels me to create - individualism. I employ subtle, never blatant use of many digital tools and techniques, applied to each primary photographic image with a constantly evolving set of combinations while each image begins to find its own direction. I refer to this creative, inventive process as "digital improvisation." Strong color and tactile, dimensional texture predominate turning photographic images into something else, something different from a conventional photograph. No established technique should ever be precisely replicated as done before. Scale plays an important role here, making visible the great wealth of detail that exists within each completed image and there is a lot of it!
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Much of my inspiration comes from the cubists in the shaping and
manipulation of objects. Some of my favorite artists are
Cezanne, Matisse, Picasso, Alice Neel, Wayne Theibaud, David Hockney
and Kitaj. I have a Bachelor of Arts degree in Painting from Southern
Illinois University and a Master of Arts degree in counseling. Currently,
I live in Colorado where I teach art in my "day job".
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Painting with encaustic is a very exciting process for me. Encaustic is immediate, physical, and provides me with a medium to tell stories. My paintings emerge through a combination of drawings, and photographs in many translucent layers of encaustic. I have developed a lustrous encaustic palette, which incorporates evocative figures, in an engaging narrative. The stirring, figurative drawings are the focal point in these mixed media encaustic paintings. The narrative quality of these women's journal pieces is the thread that is woven throughout.
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Since his youth, Rotman has painted mainly in oils. Always open to new forms of
expression, he first applied digital technology to his art in 1999. In his view,
technique has moved beyond the brush and palette to encompass the tools and spectrum
of the digital medium. This medium, he believes, provides the best way to express the
fast-paced rhythm of his visions and imaginings.
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Paul is an artist from North Carolina |
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I am able to uncover and symbolically sort out what is happening and how it
affects me, through doodling. It is a form of automatic writing, only it is automatic
drawing.
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Born in Israel, 1959. Dalia Rubin is a self-educated artist. She began painting while in her adolescence - and her artistic career spans over nearly 30 years. Paintings from her earlier period are held in private collections. She also designs and makes jewelry, where she works mostly (but not solely) with silver. For many years making jewelry was her main occupation and source of income. Recently she closed a full circle and resumed painting. Once again she made painting her main interest. All the paintings shown on her website are from this late period. It is evident that her long career in designing and making jewelry influences her canvases: the shapes, the unique texture of her paintings, the colors of gems and her affection towards metallic tint - are all reminiscent of her other occupation, giving them their unique touch and quality.
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I am an artist in Long Island City, Queens NY.
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Philip is an artist, writer, teacher and visionary in several fields. He holds undergraduate (B.S.) and graduate degrees (M.A., MFA) in Studio Arts, Philosophy, Comparative Religion. His work has been exhibited internationally in more than 80 exhibitions and his writings have been read world-wide in numerous articles and journals. He is the author of "DRINKING LIGHTNING - Art, Creativity and Transformation" and organizes and teaches painting techniques of the old masters in the annual seminars; "Old Masters-New Visions".
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As a musician uses notes and tones, I use color. Both are rhythmic,
both have a message. I try to deliver my message in a way not so obvious
at first, but for the viewer to decipher in his or her own way, through
their own personal life’s rhythms. I hope that everyone can see something
of themselves in my work. Although our life experiences may differ,
in many ways they are also similar. Our emotions all have the same
definition although the circumstances creating those emotions may be
different. I paint to music, music enhances, encourages and inspires
the story in my head, opens my minds eye to see in a way perhaps considered
to be a bit surrealistic. Although my style may be considered surrealism,
magical realism, whimsical…it is the realism of life that triggers
my imagination to create. Art has been a part of my life from as long
as I can remember and continues to fuel my passion to create. It has
been my means of survival and ability to cope. It has been my way to
show appreciation for the lessons life has taught me, whether pleasing
or not. It has also been my way to communicate to others my life story
and my comprehension of theirs. I cannot imagine life without art.
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Self taught, searching for his own style, he began shooting and processing images to look as though they come off the silver screen. Grainy horizontal pictures in black and white which he toned and handcolored. |
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I reduce my work to the essential minimum to garner the maximum aesthetic impact. The subject of my paintings is the paint itself. Within the strict limitation of working solely in black, I find endless creative possibilities unfolding. |
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